TTHHEE DUUKKEE’’SS LEEGGAACCYY COONNTTIINNUUEESS TOO CCAASSTT AA GGIIAANNTT SSHHAADDOOWW by Nick Zegarac “Oscar and I have something in common,” John Wayne proclaimed at the 1979 Academy Awards, “Oscar first came to Hollywood in 1928. So did I. We're both a little weather-beaten, but we're still here and plan to be around for a whole lot longer.” It was a statement fraught with irony and possibly a few quietly bitter regrets. For in the intervening decades, John Wayne had seen his reputation plummet amongst a new generation of film goers who viewed his patriotic legacy as fraudulent (partly, because Wayne himself had never served in the armed forces even though he frequently donned military regalia for his films) but more to the point, misperceived as blatant war mongering in a decade where Viet Nam divided the nation into pro and con encampments. “It's kind’a sad thing when a normal love of country makes you a super patriot,” Wayne openly declared. He had tolerated his place in the new Hollywood so far as it went, though he never accepted the suggestion that his views were out of touch. “Very few of these so-called liberals are open-minded. They shout you down and won't let you speak if you disagree with them.” The year before, John Wayne had been scheduled to appear as a presenter at the annual Oscar telecast but had to bow out due to complications from surgery to remove a malignant tumor. In his place on that night in 1978, presenter Bob Hope held back his emotions to offer encouragement to the ailing American icon. “We expect to see you saunter out here next year, duke” Hope declared to thunderous applause, “…because nobody can walk in John Wayne’s boots.” And Wayne did not disappoint. (Top: an early publicity still taken at Monogram Pictures. Right: an athletic Wayne during his USC football years. Wayne’s pin-up quality as a leading man was certainly evident in his early film career and he appeared mostly as just another ‘congenial’ cowboy, fighting hard, laughing loudly and riding his horse to victory against outlaws and Indians. Facing page: a Republic still – colorized.) It seems ironic now, nearly 30 years after his death, but it is a fairly safe assumption that had it not been for director John Ford, American cinema might never have been blessed with a John Wayne. Although Wayne had toiled in movies – first as a general laborer on the Fox back lot, then as an extra in a string of B- westerns at Republic Pictures, the young Iowan had little more than a workhorse mentality and 122 forgettable film appearances to recommend him and distinguish his early career. TTHHEE LLOONNGG JJOOUURRNNEEYY HHOOMMEE At 6 feet 4 inches, Wayne towered over most of his fellow actors. Yet, despite handsome looks, an athletic physique and congenial good nature, he was regarded as little more than a blip on the celebrity radar. John Wayne was born on May 26, 1907 in Winterset Iowa as Marion Robert Morrison, with his middle named officially changed to Michael after his parents decided to name their second child Robert. His youth and teen years were spent, first in Palmdale, then Glendale California where he held down a part time job at an ice cream parlor and attended the local high school. Young Marion’s hopes to attend the U.S. Naval Academy were dashed, so instead he decided to attend the University of Southern California (USC). Wayne had come to acting in a round about way, working as property man and stunt double to help pay for a USC education. At university Wayne, who had already adopted ‘the duke’ persona (borrowed from his Uncle Tommy, a prize fighter), excelled at football while studying pre-law. By 1920 however, films were taking up more of his time. It was at this juncture that a football injury permanently ended Wayne’s wavering dreams to play professionally. Unable to cover his scholarship he left college for the movies, beginning at the bottom. His work ethic impressed fledgling director, John Ford who frequently asked for Wayne on the set. Ford befriended the young man almost by accident and eventually entrusted his young protégé with a single line of dialogue – “What do they do in the movies, Mr.?” in his film, Salute (1929). (The many early faces of ‘Duke’ Wayne: top – mugging for studio publicity with an unknown child extra and a puppy on the Republic Studio back lot. Middle: his first starring role in Raoul Walsh’s The Big Trail – winsome male handsomeness…but the role demanded something more. Middle: As the Ringo Kid in John Ford’s seminal western, Stagecoach. Bottom: donning military garb for They Were Expendable. In later years, the fact that Wayne never actually fought in WWII was misperceived as hypocritical typecasting, particularly after Wayne began making his conservative views more public in the mid-1960s and throughout the rest of the decade.) Ford, who fancied himself a star maker en par with Svengali – or at least, Louie B. Mayer - had quietly decided that the young Morrison was going to be his to mold. On Ford’s recommendation, veteran director Raoul Walsh cast Wayne in his first important movie, The Big Trail (1930) an epic western shot in both conventional and highly experimental widescreen aspect ratios. Unfortunately for all concerned, Wayne’s lack of leading man experience was laid bare on the project and the resulting epic was a disastrous flop that set Wayne’s career back by ten years. The film’s failure also strained the mentor relationship between Wayne and Ford, the latter rarely tolerating weakness or defeat. It had been director Walsh’s foresight to professionally change Marion Morrison to John Wayne. To Ford it seemed as though his own aspirations for molding the young actor’s career as his exclusive star had been dashed, or at the very least - snubbed. From that moment on the Wayne and Ford barely spoke – a rift that hurt Wayne considerably as he toiled in cheap westerns apart and away from Ford’s tutelage over the next decade. But in the spring of 1938, John Ford had other problems. Although he was one of Hollywood’s most prominent directors with a string of critical and financial successes to his credit, he could find no one willing to finance his latest project – Stagecoach. Ford had based his screenplay on various source materials including French novelist Guy de Maupassant’s Boul de Suif (Ball of Fat); the story of a whore who sleeps with an army officer to help people escape to freedom on a stagecoach. However, it was Dudley Nichols adaptation about social hypocrisy that inspired Ford to move the project forward and gave Stagecoach its psychological underpinning that later would dub the film ‘Hollywood’s first ‘adult western’. Initially, Ford had proposed the project to independent producer, David O. Selznick – whose marginal interest was dashed when Ford informed Selznick that Wayne was to be cast in the pivotal role of the Ringo Kid. Known for his fastidious attention to gloss and detail, Selznick could see only Gary Cooper as his all-American and the project fell through. It was probably just as well. Ford was more interested in grit than gloss. (Top: good times on the set of The Searchers, Wayne center and singing off key. Middle: two photo ops for the aspiring football star that would never be. Bottom: an early supporting role, playing a football player, no less.) The project was next shopped to independent producer Merian C. Cooper who accepted the challenge. Unfortunately, any hopes for an enjoyable shoot were dashed when sparks began to fly between Ford and Wayne on the set. Determined not to repeat Walsh’s mistakes on The Big Trail, Ford verbally admonished Wayne’s performance at every opportunity, relentlessly bullying the actor to such an extent that costar Claire Trevor later commented she found the whole experience quite painful to observe. For his part, Wayne quietly absorbed the abuse, convinced that the antagonism would be worth the final product. It was a clairvoyant assessment. Stagecoach reinvigorated the Hollywood western and jumpstarted John Wayne’s career to a 35 year run as America’s ultimate action hero. If only to save himself from the prospect of repeating these intolerable working conditions, John Wayne should have departed from Ford’s ambitions immediately followed Stagecoach’s premiere. Yet for much of his later career, Wayne chose to align his star and his allegiances closely with his first mentor. To be certain, the alliance was fortuitous and profitable for both. Ford made Wayne a star and Wayne made Ford’s westerns profitable. Only occasionally did their on screen union show signs of strain behind the scenes, as on the set of They Were Expendable (1945) a story about accepting war time defeat rather than celebrating success. The film has since proven to have more than an ounce of artistic merit, though when it premiered it was not a financial success. (Top: a publicity still for John Ford’s memorable The Long Voyage Home in which Wayne played a drifter aboard ship who reluctantly decides to go home to his mother in the final reel. The film was laced with Ford’s sentimentality for family and belonging. Left: fighting a marauding Arab in The Black Watch – a minor programmer.) Throughout the forties, Ford refined Wayne’s persona. In Forte Apache (1948) Ford helped Wayne cultivate the torments of a noble solider struggling to reconcile the differences between sworn duty and resigned fate.